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America Passes By 



A Play in One Act 



By 
KENNETH ANDREWS 

Author of "The Tear of the Tiger," "A Crooked 
Man and His Crooked Wife" etc. 



NOTE 

Both the amateur and professional stage-rights of this play are 
strictly reserved. Public performance of the play without per- 
mission is forbidden. In the case of amateurs a royalty of $5.00 
for each performance will be charged. Persons wishing to pro- 
duce this play may apply to the author in care of the publishers. 



BOSTON 

WALTER H. BAKER & CO. 

1917 



America Passes By 



4 ,$ 



CHARACTERS 

(As originally produced on April u f JQl6, at the Hasty Pudding Theatre, 
Cambridge, Mass., by the Harvard Dramatic Club.) 

A Young Man . . ' . . . IV. H. Roope 
His Fiancee .... Elizabeth S. Allen 
A Young Husband J. Hammond 

His Wife Priscilla May 

Scene. — A small flat in Chicago. 




Copyright, 191 7, by Kenneth Andrews 
Professional stage and moving picture rights reserved. 



« 






f 






JAN 25 1917 






TMP92- 


-0085 


81 


©cin 450 







PLEASE NOTICE 

The professional stage-rights in this play are strictly reserved by the 
author, to whom applications for its use should be addressed. Amateurs 
may obtain permission to produce it privately on payment to him of a fee 
of live dollars (#5.00) for each performance, in advance. Correspondence 
on this subject may be addressed to Kenneth Andrews, in care of the 
publishers. 

Attention is called to the penalties provided by law for any infringe- 
ments of his rights, as follows : 



"Sec. 4966: — Any person publicly performing or representing any dramatic or 
musical composition for which copyright has been obtained, without the consent of the 
proprietor of said dramatic or musical composition, or his heirs and assigns, shall be 
liable for damages therefor, such damages in all cases to be assessed at such sum, not 
less than one hundred dollars for the first and fifty dollars for every subsequent per- 
formance, as to the court shall appear to be just. If the unlawful performance and 
representation be wilful and for profit, such person or persons shall be guilty of a mis- 
demeanor, and upon conviction be imprisoned for a period not exceeding one year." — 
U. S. Revised Statutes, Title 60, Chap. 3 . 



America Passes By 



SCENE. — The living-room of a small flat. It is a delightful 
little roo?n furnished with care and taste ; bright, but not 
flashy. At the rear is a double doorway opening into the 
" square hall. " In the hall are visible a hat-stand with its 
mirror, a bag of golf clubs, etc. In the living-room, to the 
left of the hall doorway, is a tall piano lamp {though there 
is no piano) with a deep amber shade. At the right of the 
doorway is a s?nall square black table with visiting cards 
upon it. In front of the wide low fireplace, which is at the 
right a?id quite far front, is a davenport attractive enough 
of itself and in harmony with the walls and hangings, but 
too large for the room. Indeed the room has evide fitly 
been decorated with this piece of furniture in mind. In the 
left-hand wall, almost opposite the fireplace, is a windoiu 
which is also too large for the room : plainly having been 
constructed with a view to its exterior aspects. In front of 
the ivindow is a bright brass smoking set. Grouped about 
are several smart but rather comfortable looking chairs. 

(Anne appears in the hall, followed by Kate. Anne has 
given her coat to Kate, and is removing her hat and veil. 
Anne is a very pretty girl, but she is dressed very plainly 
and beside Kate she seems almost dowdy. Kate is like 
the living-room : bright but not flashy. Her striking 
" house-gown " is tasteful enough — on her.) 

Kate (hanging Anne's coat on the hat-stand). Hurry with 
the veil. I'm dying to see what you look like. 

Anne {surrendering her hat and veil). Ho ! You em- 
barrass me ! 

Kate (putting her arm about Anne and bringing her into 
the room). Did I ? Oh, I'm so sorry. But we haven't a 
single manner. There simply isn't room for them in a honey- 
moon flat. 

Anne (as they sit on the davenport). So this is the flat at 
last. (She cant resist a glance around.) 

5 



6 AMERICA PASSES BY 

Kate (seizing her hands). And this is Anne ! at last. 

Anne {smiling). Do you think I look like a missionary ? 

Kate. No ! (Springs up.) Oh, dear me ! 1 forgot. (She 
flies to the little black table and takes a bright new Bible from 
the drawer.) Bill told us to be sure and have it in a conspicu- 
ous place. So we bought one specially — just for fun. (Glee- 
fully she places it on the mantelpiece.) There. 

Anne (a little startled). Well, 1 — I am a sort of a mis- 
sionary : I've always tried to help — you knew that, didn't you? 

Kate (undaunted). Dear me, yes. I mean, we heard all 
about you from Bill. (Again on the davenport beside her.) 
He does so love to talk about his fiancee. 

Anne (puzzled). Bill? 

Kate. Yes. Don't you call him Bill ? 

Anne. No, I — 1 call him Benjamin. 

Kate. Oh, of course. But we always called him Bill. I 
don't know why it seemed to fit him. 

Anne. Fit him? Bill? I don't see why it fits him, I'm 
afraid. 

Kate. Well — we grew up together, you know — and when 
Bill was a little kiddie he used to say (imitating), "I wish my 
name was Bill. It sounds tough." So we 

(She breaks off, laughing. ) 

Anne. Hm. 

Kate. He always wrote about you as "the other white 
person in Japan." 

Anne (laughing). That's like him. Oh, it was so wonder- 
ful, Mrs. 

Kate. Don't call me Missus. Mercy ! Call me Kate ! 

Anne. You see, K-Kate, I've always lived in Japan 



Kate. Never been in America before ! Think of that ! 

Anne. And when Benjamin came You won't mind 

if I talk about him? You'll understand because you've just 
married. 

Kate (dubiously accepti?ig this). We-ell, two months. 

Anne. I do so want to talk about him. There's been no 
one but old maids, and missionaries — and that's not the 
same 

Kate (throwing her arms about her). You poor child ! 
Tell me everything ! What would be the fun of being in love 
if you couldn't talk about it? 



AMERICA PASSES BY J 

Anne {laughing). It was such a perfect love-story. Most 
of it happened in a wonderful Japanese garden, full of big 
shadows and stone lanterns and everything. 

Kate. Just what Bill said : a perfect love-story ! 

Anne. And Benjamin was such a perfect prince — so just a 
boy, and 

Kate. Bill certainly is a prince. 

Anne. And we think we'd like to live always near the 
garden. Perhaps we shall. Benjamin hasn't quite decided 

Kate (aghast). Bill a missionary ! 

Anne. He was fully in the notion in Japan — and in the 
garden. But . . . America seems to have changed him. 

Kate (wide-eyed). You say he was in the notion in Japan ? 

Anne (innocently). Yes. Why not? 

Kate. N-nothing. Only we thought you'd live in Chicago. 
Pa and I had picked out the flat for you 

Anne. Pa? 

Kate. Yes. Ha, ha ! I call him " Pa." 

Anne. You mean your father ? 

Kate (stifling a laugh). No ! I mean George ! 

Anne. Oh, your husband. 

Kate. Yes, I can't seem to get used to calling him " my 
husband." 

Anne. So you call him " Pa " ? 

Kate. Yes. It's silly, isn't it? 

Anne (tapping her foot in thought). And — he calls you — 
"Ma"? 

Kate (embarrassed). Yes. 

Anne. Oh ! 

Kate. You see, P-P — George and I thought it would be so 
jolly to have you two across the street — and we wanted you to 
get married in our flat 

Anne. It would be jolly, I suppose, if I could ever learn to 
be an American. 

Kate. Better than Japan, don't you think ? 

Anne. I — I sometimes wonder. Benjamin has s-seemed 
different in Chicago. America seems to have changed him. 
But that's just silly. It's just that I'm so terribly sensitive. 
If anything should happen ! 

Kate (from the heights of her two months 1 experience). 
That's it. I was the same way. Pa tried to get away twice 
after we were engaged. 

Anne (shocked and mystified). To get away ? 



8 AMERICA PASSES BY 

Kate. Yes, indeed. They will if you don't watch them. 
{She goes to the doorway and stands listening.') 

Anne. Oh, Kate, I — I didn't mean that. But I know how 
good Benjamin is, that he does have such dear ideals, and — of 
course that sounds like an engaged girl — — 

Kate (listening). There they come at last. I do hope no 
one sees them. 

Anne. Where is Benjamin ? I thought he'd meet me here. 

Kate. He and Pa stepped out after a pail of b 

(She catches herself and looks at Anne.) 

Anne. A what ! 

Kate (laughing uncomfortably). You see, Pa thought since 
Bill had been away for so long, they ought to have a kind of a 
party, as he said. So 

Anne. What did they go to get? (As though hurt.) 

Kate. Well, they went to get a pail of beer. Of course 
that's just what they said. 

Anne (a little bewildered). I — suppose I'm silly and nar- 
row, but that does seem a little strange 

Kate. Anne, dear ! We never drink It was just an 

impulse Of course just beer. They — sillies — said it 

would be so "clubby" and plebeian. A pail, you know! 

(Her enthusiasm for the "party" is plainly forced, and 
fails to infect Anne.) 

Anne. I shan't s-spoil anything. You needn't explain 

Kate. There they are. Just excuse me. (She goes out 
with assumed airiness. Her voice, in a clearly audible whis- 
per, outside.) But, Bill, you old loon, you knew she wouldn't 
like it ! 

Bill (outside). Ah, the dickens, we've only 

Kate (outside). Not so loud, she'll hear you ! 

Bill (outside, a feiu degrees huskier). Well, she's got to 
learn 

Kate (outside). Sh-sh-sh ! She'll hear you ! 

Bill (outside). Oh, rot ! Where is she? 

Kate (outside). Pa ! Give me the beer ! 

(As Anne listens to this rather undignified colloquy there is 
a stiffness and primness in her attitude which she would 
probably deplore if she realized it.) 



AMERICA PASSES BY 9 

Enter Bill. He is a young man of abundant energy and en- 
thusiasm, just now a bit flushed from his argument with 
Kate, and inclined to bluster to hide his discomfort. 

Bill {seeing Anne). Well, here we are at last ! Isn't this 
a little nest? (Goes to her and starts to kiss her.) 
Anne (stopping him). Oh, should you ? — well. 

(She holds up her lips ; he kisses her.) 

Bill (loudly). Come in, Pa ! (George enters. Very much 
the young husband, breezy with the first flush of happy married 
life ; young and comfortably prosperous. As Geo. enters.) 
Here we are ! This is George, Anne. Not very pretty, but 
sweet and clean. 

Anne (smiling and shaking hands). How do you do ? So 
this is George. 

Geo. ''George," that's right. And we call you "Anne," 
Ma and I, in the bosom of the family, so to speak. Mustn't 
mind if we slip. 

Kate (returning). Now, Pa, stop trying to be polite. I've 
told her we haven't any manners. 

Bill {softly to Kate). What did you do with it? 

Geo. (to Anne). I'm glad she warned you 

Kate (firmly). I threw it in the sink. 

Bill. What? 

Geo. (wheeling). Threw it ! 

(There is a sudden silence as Bill, Geo. and Kate become 
conscious of Anne.) 

Bill (to relieve the impending strain). Hm, hm. Well, 
well. Here we are; the four of us. And you two actually 
married — the world moves ! 

Geo. (his arm about Kate). Ma, don't you just want to 
sit and look at him ? Home again ! 

Bill. And that's the greatest feeling in the world. 

Kate. And don't you think for a minute you're ever going 
to run away and be a missionary ! 

Geo. (shouting). What! Who? 

Bill. Good lord, Kate ! Can't you take a joke? 

Geo. Bill a missionary ! And he just told a bartender we 
weren't buying foam, but beer ! 

Kate. George ! (She gives Geo. a terrible look. The 



IO AMERICA PASSES BY 

three of them look at Anne, realizing that they have bee?i ig- 
noring her completely. Anne sits staring into tlie fireplace. 
Kate, going to her : gushingly). My dear, won't you come 
out in the kitchen with me? The dinner's all ready to go on 
the range. I want you to see what a wonderful housekeeper 
1 am. 

Anne (rising). Yes. Let me help. 1 — I want to learn. 

(They go arm in arm : Geo. and Bill stand looking after 
them.) 

Bill. What d'you think of her, George? 

Geo. Anne ? She's a marvel. 

Bill {enthusiastically). Isn't she? You — er — you really 
think so? 

Geo. She's a wonder. (Goes to smoking- set.) Come on. 
Have a weed. 

Bill. I — I sort of cut them out, George. 

Geo. (in dismay). No ! 

Bill (joining Geo.). She — rather wanted me to. What 
are they ? 

Geo. Fatima, of loving memory. 

(Puts one in Bill's mouth.) 

Bill. Home again. (Lights the cigarette, as Geo. 
holds a match for him.) I used to crawl around through a 
temple yard next door over there begging the damn little idols 
for one. (He stretches out in a chair.) 

Geo. I'll bet. Now what about Kate ? Has she grown 
up into a regular little person ? 

Bill (slowly). " A regular little person." I like that. I 
suppose that's up-to-now American. 

Geo. I'm asking you about the Missus. 

Bill. She's a regular little person. American, George, all 
through. Gee ! You don't know what that means. 

Geo. Don't I? I'm the most married man you ever saw. 
And we've got the flat picked out for you and Anne. Just 
across the street. 

Bill. Look here, you know. I want you to be frank about 
it. You honestly think Anne is — well, what you expected? 

Geo. Why, yes, she's a baby, Bill. Of course 

(He stops uncertainly.) 



AMERICA PASSES BY II 

Bill {turning to him). Of course what, George ? Don't 
be afraid. 

Geo. We-ell — a wee bit religious, I suppose. But we'll 
make her one of the family if we have to go to church. 

[Reassuringly he ba?igs Bill on the shoulder.) 

Bill. That's fine of you, George. I — I — you know I was 
simply a fool about her — in Tokyo. 

Geo. [quickly). You mean you're not now ? 

Bill. Well, that's it. Am 1 ? 

Geo. Hm. If you were to ask me 

Bill. Shut up, George. I — I suppose it's the shock of 
getting back. I feel as though I'd been away from civilization 
for centuries. 

Geo. Do you think she's changed ? 

Bill. Not a bit of it. She's pure gold — but somehow or 
other the charm of it's gone. 

Geo. Well, she's crazy about you, I can see that. 

Bill. Can you ? Hm, that makes me happy as the devil. 

(He walks restlessly to the window.) 

Geo. Of course a man has to be careful. Can't be too 
careful. 

Bill. Did you ever have — doubts ? 

Geo. Ye-es, but I got over them. Don't know just 
how 



Bill. With Kate it would be different. 

Geo. (with sudden decision). I'm going to tell you some- 
thing, old wagon; I wouldn't butt in on a bet; and if Anne's 
the girl for you, she's the girl for the four of us 

Bill (turning back to him). Go it. Talk straight from the 
shoulder. 

Geo. Take it for what it's worth. The Company marooned 
me for eight months in a little county seat in Iowa. Two 
trains passed through the town every day — except Sunday — 
that's all that ever happened there. And lonesome, Lord 

Bill. I know. I went for three weeks once without seeing 
a white man. 

Geo. Think of eight months in darkest Iowa. Then along 
came Mary. Mary was the general storekeeper's daughter, 
fair, frank and freckled. I'd been starving for a little small 



12 AMERICA PASSES BY 

talk for six months. You know how I took to Mary. She 
wasn't a beauty, of course. But she looked to me like the 
queen of the movies. 

Bill {with relish). ''The Queen of the Movies" ! 

Geo. Two weeks of Mary, and I wrote up to Kate — we 
were engaged at the time — and tried to start an argument. 

Bill. "Start an argument " ! {In delight, mostly to him- 
self.) 

Geo. But Katie, thank the good Lord, was wise, and too 
proud to fight. Then I came back to Chicago ; and some time 
later Mary and her dear mother paid a visit to the city. Bill 
{shaking his head sadly), when I saw Mary in the reception 
room of the club it knocked me out. 

Bill. I know the feeling. 

Geo. Something about the incongruity of it — she was here 
three days and I lost five pounds a day. And when she went 
home I simply ruined a typewriter ribbon trying to tell Kate I 
wanted to get married. 

Bill {thoughtfully). I see. I hadn't seen a real American 
girl for three years. Anne came along 

Geo. This environment thing is a peculiar machine. 

Bill. Our love-story was perfect — simply perfect in Japan. 
But it doesn't seem to go in Chicago — for me. 

Geo. Watch it, Bill, watch your step. Just let America 
pass by. That's what I did with Chicago and Mary. It 
cured me. 

Bill. That's it : let America pass by ! For this getting 
back to civilization has been a tremendous shock. Oh, it's 
been glorious ! America ! America ! Why, it just rose up 
and slammed me on the shoulder in San Francisco. And ever 
since it's been pressing in, pressing in ! Life, you know ! 
Real people ! Nineteen hundred and now ! And somehow — 
I do hate to say it — Anne isn't a part of America. America is 
pressing in, and it seems that, in spite of everything, it's press- 
ing her out. 

Geo. If the little romance doesn't bear transplanting, old 
man, let 'er wither. 

Bill. But that month in Tokyo is like a dream. ( Very 
thoughtfully.) I shudder to think of spoiling that for her — or 
for myself. 

Kate {appearing in the doorway and staring at Bill). 
What on earth's he doing, Pa? Praying? 

Bill {turning guiltily). Where's Anne? 



AMERICA PASSES BY 13 

Kate. In the kitchen. She makes me ashamed of myself. 
She knows twice as much as I do. 

Bill. About — cooking ? 

Geo. (removing the fluffy tuhite apron which Kate has over 
her gown). Wait till you're married, Bill : you'll realize how 
important that is 

Kate {taking the apron from him, wheeling him about and 
fastening it around his waist ). I think she's lovely, Bill. 

Geo. (as he submits to having the apron fastened on him). 
You see, Bill, what it brings us to : hook-worms and kitchen 
mechanics. 

Kate (as she finishes tying the apron on him). Poor old 
Pa, poor old . Pa ! (Rises to her tiptoes a?id kisses him on the 
back of the head.) There. Go out and show Anne how well 
I've trained you. 

(Geo. goes out.) 

Bill (tvhen Geo. is gone). So you like Anne? 

Kate. Oh, she's a dear. 

Bill. Honest ? 

Kate (surprised). Why, yes. I love her, or shall. 

Bill (suddenly pointing). Are those shoes the latest? 

Kate (pressing back her skirts and putting her feet together). 
Yes, sir. Do you like them ? 

Bill. I love them ! 

Kate (still stooping : looking up at him). Love them ? 

Bill. Love 'em ! You don't know what those shoes are to 
me. Something I've been hungering for for three years. 

Kate (laughing). And they only cost four-thirty-six. I 
got them at a sale. Now tell me about yourself. 

Bill. And I'm crazy about that dress. There's something 
ultra-American about it. 

Kate. This? Bill ! It's a year old ! 

Bill. Never. It's the newest thing in the world. 

Kate. Dear me ! Go on. What do you think of my hair ? 

(She looks at him brightly, and gives her head a little flirt.) 

Bill (rising in his enthusiasm). Splendid ! Kate, some 
time 1 want you to do that again for me — some time when I'm 
not expecting it. 

Kate (at a loss). What ? 

Bill. Turn your head, just that way ! I'd forgotten, plumb 
forgotten that women did it ! 



14 



AMERICA PASSES BY 



Kate (laughing •uncertainly). Silly. Tell me about Japan. 

(Kate" arranges herself on the davenport prepared to believe 
anything. ) 

Bill (all life gone out of his mariner). It's a beautiful 
country. 

Kate. How specific ! Do they dance there ? 

Bill. No — not as we do. (Warms up again.) The men 
and women don't dance together. They don't twist themselves 
into outlandish postures, and make glorious fools of themselves, 
and get their heads ringing witli the jolliest, craziest, liveliest 
tunes in the world — and — (stopping out of breath) as we do. 
God bless us ! 

Kate. My ! Then you haven't been to a dance for three 
years ! 

Bill. It seems about three hundred. 

Kate (clasping her hands). Then, Bill ! You don't know 
a single one of the new dances ! 

Bill. No. Are there some ? 

Kate (shrieking). You poor old foreigner ! Here — (seiz- 
ing him) do let me show you ! 

(She starts a " syncopated walk") 

Bill. W-wait ! What's the general idea? I can two-step ! 
Kate. Sh-sh ! The flat's small. Some one might hear 
you. Now watcher step. 

(She leaves him and executes a graceful little fox-trot, sway- 
ing, and ' ' hesitating, ' ' and gliding ; whirls around lightly, 
smiling at him.) 

Bill (with a sigh, as he watches). America passes by ! 

Kate {bowing). There you are. Mrs. Castle, n'est-ce 
pas? 

Bill. Mrs. Who? 

Kate. Castle, Bill ! You don't know about Mr. and Mrs. 
Vernon ? 

Bill. I admit it. Should I know them ? 

Kate. No hope. And you don't know a single Ford 
story ? 

Bill. Sewell Ford ? Wrote about Shorty McCabe ? 

Kate. Lovely, Bill, how lovely ! A Ford is what you get 



AMERICA PASSES BY 15 

when you can't afford an automobile. There are people who 
can't even get a Ford. Pa and I are some. 

Bill. Oh — the name of a car. 

Kate. And every one should have a Ford story. But 
they're all old now. Mine was the one about the man who 
drove his Ford up a hill, and let one of his feet hang outside. 

Bill. Go on. It's new to me. 

Kate. Fancy that ! Well, everybody thought it was a 
roller skate. 

Bill. What? 

Kate. The Ford! 

Bill. Oh, I see ! Ha, ha ! Because it was so small, eh? 

Kate. Yes, Bill, because it was so small. That's right 

{Above the sound of a ragtime piano is heard.) 

Bill {raising his eyes to the ceiling). Just a minute ! 
Is ? That's ragtime ! 

Kate. The joys of living in a flat. 

Bill {dropping on the arm of the davenport, a?id gazing 
raptly at the ceiling). Ragtime ! 

Kate (ivhispering very confidentially). It's the little girl 
upstairs ; she can do it for hours ! 

Bill {raising his hands in ecstasy). Kate, it's more Amer- 
ican than a bright new copper penny ! 

Kate {seeing that he likes it she proceeds to interpret Amer- 
ican ragtime for him : watching him, and moving her hands, 
shoulders and head with the melody). " Come along with me 
— we'll have a jubilee — in my old Kentucky ho-ome ! " {The 
tune upstairs changes.) R-r-run me up — and down the keeees 
— ta-ta-tumtum — my harmoneeees — ta-ta-tumtumtum — are sure 
to pleeeees 

Bill. Sounds like "Silver Threads." 

Kate {chanting the words into the tune). Yes — it — is syn- 
copated Silver Threads {Breathlessly she drops into a 

chair.) Everything is syncopated now ! Hum. 

{Again the tune changes.) 

Bill. What's that one? 

Kate. " Aw-merica — I lo-ove you — and there's a hun-dred 
milyun oth-ers like me!" Bang! What do you think of 
that ? 

Bill. It's awful : perfectly awful. But I love it ! A " hun- 
dred million others like me" — that's the way 1 feel about get- 



l6 AMERICA PASSES BY 

ting back. Just like that. Back among my own people — 
where there's a hundred million others like me. That's a great 
feeling after three years in the wilderness ! 

Kate (bromidically). Still, I'd like to travel. I think it's 
so broadening. 

Bill {brought to earth with a thud). The deuce you 
would ! 

Kate. I think one learns more from a year's travel than 
from a college education. 

Bill (in Joy). Old bromides ! Old bromides, new slang — 
I don't know which I like the best ! 

Kate (suddenly sniffing). Georgie ! 

Geo. (from the kitche?i). Yes, m'dear? 

Kate. Turn the meat ! 

Geo. {from the kitchen). Yes, m'dear. Which way shall 
I turn it ? 

Kate (springing up and dashing out). Oh ! Can't you 
smell it ? 

Geo. (front the kitchen). Ye-as, m'dear. (When she is 
gone Bill rises and heaves a sigh of happiness. The music 
has begun again upstairs. Bill hums ; " Where there 1 s a 
hundred million others like me." He moves to the tuindoiv and 
holds aside the curtain, looking out with a whimsical smile. 
il America I love you . . . a hundred million others like 
me/") 

(Anne has entered. Silently she watches his devotions, as 
she removes her apron and wipes her hands on it. She 
sits 071 the davenport, and waits for him to finish.) 

Anne (over her shoulder). They told me to come in, Ben- 
jamin ; they said it would be our last chance to be alone. 

Bill (starting and turning). Oh, Anne ! I didn't hear 
you come in. 

(He looks at her as though he had forgotten her existence.) 

Anne. They assumed that we would want to be together. 

Bill (taking a step toward her). Well — don't we? 

Anne (smiling and holding out her hands to him). Why, 
of course. (Bill sits beside her on the davenport holding her 
hands.) So this is George and Kate. 

Bill. Aren't they the best fellows in the world ! Properly, 



AMERICA PASSES BY IJ 

I suppose I should call them "real and regular." Don't you 
like that? 

Anne. Like what, Benjamin ? 

Bill. "Real and regular": just the phrase. It's Amer- 
ican, fresh from the mint. 

Anne. Hra. I'm afraid I don't see quite what it means. 

Bill. Well, don't you think Pa and Ma are great? 

Anne. Yes, they're jolly — and your friends. 

Bill {cooled somewhat). You know — they mean a lot to 
me. 

Anne. Yes. I can see they do. 

Bill {rising uncomfortably). I don't know quite what you 
mean. 1 — I'm afraid you don't understand how well I like 
them. 

Anne. It all seems so very different. 

Bill. What's different? 

Anne. Everything. I didn't think their flat would be like 
this in Tokyo. 

Bill. To me their flat's a bit of Heaven. 

Anne {looking up at him). Is this what we want to do 
with our lives ? 

Bill {studying her curiously). You mean — it isn't ? 

Anne. When we spend evenings like this are we making 
any one happier ? Is this the life of service we planned in 
Tokyo ? 

Bill. Oh ! Anne, that's ridiculous. 

Anne. You didn't think it was ridiculous in Tokyo. 

Bill. Didn't I ? Well . . . isn't that peculiar? It's 
true : I didn't. 

Anne. Oh! What has made such a change in you? 
You're not as you were in Tokyo. I can't believe you're the 
same person at all ! 

Bill {unhappily). I know, Anne. You have felt it then. 

Anne. Felt it ! No, I haven't ! I've fought it away. 

Bill. But I know what you mean. You seem like a 
stranger to me. 

Anne {very bitterly and helplessly). What has made the 
difference? You are" you, and I am I ! What has happened 
to us? 

Bill. I think perhaps it's . . . America. 

Anne. America ! Where we thought we'd be so happy. 
Oh, it's all so boisterous and harsh. It's hateful. Chicago is 
hideous ! 



1 8 AMERICA PASSES BY 

Bill. I'm afraid there's just the trouble, Anne. To me 
Chicago is glorious. 

Anne. How can you say that? It's selfish, brutal 

Bill {insisting quietly). No, I love Chicago. 

Anne. After the simplicity and beauty of Japan. We were 
so close to life there ! 

Bill. Close to life. It wasn't life at all. It's here we're 
in life. I love the smell of the asphalt. I love the gloom and 
dusk that lurks under the trestles of the elevated. A traffic 
cop is a masterpiece ! 

Anne. Don't talk so ! 

Bill. I even like the posters on the streets, with their stiff 
green lines and horribly skinny men. It's a profound expe- 
rience for me to walk down Michigan Avenue: pearl gray 
shoes, blue silk, white fur, derby hats, the English language, 
horn spectacles, cigars, mustaches, shop- windows, sky-signs — 
oh ! America ! 

Anne {laughing a little). Of — of course you're glad to be 
home again 

Bill. Home again ! Alive again ! 

Anne. But those things are all foreign to me, Benjamin ; 
foreign, foreign. 

Bill (touched and going to her). Anne — don't mind me. 
I can't help it. I love them all ! 

Anne {miserably). Those trivial, silly things 

Bill. Those are just the sparkles on the surface. These 
stunning, ultra, elaborately simple creations are just part of our 
blessed struggle for the next thing, new discoveries, new 
effects, new beauties from life. That striving, that joyous, 
mad scramble for new things, bright new things, somehow is 
America. It all stirs something in me to the sizzling point ! 

Anne. And it all distresses me, and hurts me and confuses 
me ! 

Bill. Anne, I'm mad to get into the big procession : just a 
tiny niche in one of those skyscrapers — with typewriters click- 
ing all about me — that's all I want if I can feel I'm a part of 
it all. 

Anne (desperately). And don't you know I can never be a 
part of it — it is stylish and modern, and I am not 

Bill. Stylish and modern — and young. The Youth of All 
the World ! That's why I love it ! 

Anne. And in Japan we said we wanted things that are 
simple and clean. 



AMERICA PASSES BY 19 

Bill. I'd forgotten what a great old century we're living 
in. The music of passing motor cars ! Why, when I got into 
that Northwestern Station and looked up at those stretches of 
marble, and heard a roar about "The next train — for Evans- 
ton ! " and saw a news-stand glittering with the colors of new 
magazines, and heard the newsboys croaking, " Wuxtree, Tenth 
Edition! " I wanted to throw my hat on the floor and jump 
on it. 

Anne. Yes. I've felt it coming. It's all worse than the 
heathen things the Japanese do. At least they have a God ! 

Bill. Yes, it's true. This plunge into the living has done 
something to us. Mrs. Vernon Castle ! Fifty thousand people 
at a football game. It's all America ! 

Anne (sitting o?i the davenport; looking away from him ; 
with a change of voice). Benjamin, do you think you love 
me — still ? 

Bill (his jaiu dropping). Why — of course I do. Anne, 
how could you ask such a question ! 

Anne. It wasn't easy — or politic, 1 suppose. 

Bill. But don't — L mean let's not — this has nothing to do 
with our — our love — (with an effort) dear. 

Anne. Oh ! If I could think so ! But for instance, Ben- 
jamin 

Bill (as though he had endured it too long). I wish you 
wouldn't call me that. 

Anne. What? 

Bill. What you just called me : Benjamin. Nobody ever 
does except to jolly me. I wish you'd call me Bill. 

Anne. Well . . . Bill ... do you think I could ever 
wear my hair as Kate does? Or wear shoes like hers? And 
stockings that really seem vulgar to me? 

Bill. Good Lord ! Why not? 

Anne. Some girls can dress — well, stylishly — others can't. 
It's not a mere matter of putting on the clothes. I couldn't do 
it, ever. Even if I — I loved you. I couldn't. 

Bill (after a slight pause). Of— course, that's a little thing. 

Anne (on the point of giving way to her emotion at last). 
No ! I think it's a big thing — enormous, and strange — and 
pitiless ! (Her voice breaks ; she buries her face in her arms.) 

Bill (surprised; coming to her kindly). Why, Anne! 

Anne (bitterly). Don't feel sorry for me ! 1 really couldn't 
stand that ! 

Bill (standing awkwardly behind her). We— we can't 



20 AMERICA PASSES BY 

quite understand it. I — I know you're right, Anne. I think 
perhaps 

Anne. It would be better if I said it, don't you think ? 
You're trying to be a gentleman — and that's good of you. 

Bill {helplessly). Let's be careful. Why, here we are in 
George's flat. We mustn't spoil it. We've dreamed of it so 
often — and here's our dream come true ! 

Anne. I was going to say that in Japan you thought I was — 
well — beautiful. 

Bill (dutifully ; but without conviction). I — I think so — - 
still. 

Anne (with a little laugh). I think that ends our engage- 
ment ! (With a start she faces him, and for a moment they 
stand looking rather stupidly at each other. Turns away 
from him.) And in Japan I was Youth and America — all 
your life lacked there. And you were that to me : Youth and 
what I thought America was. You see now that I am not 
American at all, and not young in your way. And your youth 
that I loved there is different in its own environment. It is 
something I cannot understand — or love, Benjamin . . . Bill. 

Bill. You're brave about it. Anne, that's like you. 

Anne. I — I have wondered if the boy and girl we were in 
Japan — for we were so young there — aren't over in Tokyo — 
still. 

Bill. It's all very strange, Anne. I'm afraid those two — 
that is what they were to each other — were part of the pine 
trees, and tea-houses, and bamboo lattices 

Anne (breathlessly). and stone lanes, and old temples, 

and paper lanterns, and oh ! Yes ! I suppose our — our 

love is still over there. I shouldn't care to bring it to Chicago ! 

Bill (earnestly). Anne! We must try 

Anne. We have tried. When a dream fades, you can't 
bring it back. 

Bill. Dear, you don't mean we 

Anne (looking at him, fully realizing the irony of her 
words). Bill — I shan't let you marry me. 

Bill. Strange. If you'd said that two months ago, I'd 
have committed hara-kiri. 

Anne. Yes. But that was in Japan. 

Kate (from the kitchen). Honk ! Honk ! We're com- 
ing. Take separate chairs. 

Anne. Benjamin ! I can't stand it. Won't you put your 
arms around me — as if you loved me 



AMERICA PASSES BY 21 

Bill (Jiastily sitting beside her and taking her in his arms). 
It's a beastly shame, Anne. 

Anne. It's just my little pride. All the things I told Kate 
about you, and our love. Try to make them think we love 
each other, just during dinner and this evening. Please ! 

(Kate and Geo. appear in the door.) 

Kate. Oh, oh, oh ! Look at these very young people, 
Pa ! Aren't they silly? 
Bill. Dinner ready, Pa ? 

(Anne and Bill rise ; Bill keeps his arm about Anne.) 

Geo. All ready. 

Kate (going to Anne and Bill, putting her arms around 
them both, squeezing them together and drawing them toward 
the door). Oh ! You two old spooners ! We've been dream- 
ing of this little dinner for ages and ages — with just us four ! 
(Over her shoulder to Geo.) Oh, Pa! Isn't it jolly? 
They're going to sit in their own places at our table. Anne 
and Bill at last ! 

Geo. It's bully, old lady. 



CURTAIN 



New Plays for Female Characters 

LUCIA'S LOVER 

A Farce in Three Acts 
By Bertha Currier Porter 
Eight females. Costumes, modern ; scenery, two interiors. Plays an 
hour and a half. A bright and graceful piece, light in character, but sym- 
pathetic and amusing. Six contrasted types of girls at boarding-school are 
shown in a novel story. Lots of fun, but very refined. Easy to produce 
ind can be strongly recommended. 

Price, 25 cents 

A GIRL IN A THOUSAND 

A Comedy in Four Acts 
By Evelyn Gray Whiting 
Fourteen females. Costumes, modern ; scenes, three interiors and an 
exterior. Plays a full evening. Very strong and sympathetic and of 
varied interest. Irish comedy; strong "witch" character; two very 
lively " kids"; all the parts good. Effective, easy to produce, and can 
be strongly recommended to young people as thoroughly wholesome in 
tone as well as amusing. 

Price, 25 cents 

A VIRGINIA HEROINE 

A Comedy in Three Acts 
By Susie G. McGlone 
Eleven female characters. Scenery, easy ; costumes, modern. Plays 
one hour and forty-five minutes. Irish and negro comedy parts, and two 
character parts ; most of the characters young. A very easy and inter- 
esting play for girls, well suited for school performance. Romantic it 
Jerest with lots of comedy. 

Price, 25 cents 

HOW THE STORY GREW 

An Entertainment for Women's Clubs, in One Act 

By O. W. G/eason 
Eight female characters. Costumes, modern; scenery, unimportant; 
may be given on a platform without any. Plays forty-five minutes. A 
veiy easy and amusing little piece, full of human nature and hitting off a 
well-known peculiarity of almost any community. Written for middle- 
aged women, and a sure hit with the audience. 
Price, IJ cents 

Sent, post-paid, on receipt of price, by 

BAKER, 5 Hamilton Place. Boston, Mass. 



New Plays 



PLAIN PEOPLE 

A Comedy Drama in Four Acts 
By Dana J. Stevens 
Five males, five females. Costumes, modern ; scenery, two interiors. 
Plays a full evening. A strong and human piece full of humorous char- 
acter drawing and sympathetic interest. The cast is very even in oppor- 
tunity, and all the parts are good. A great play for a good club, and z 
sure winner. Strongly recommended. Free for amateur performance. 
Price, 25 ce?its 

CHARACTERS 
Ezra Bromley, storekeeper. 
Almira Bromley, housewife. 
Martin Jasper Bromley, college man, 
Liza Liz Hankins, brat. 
Judge Jotham Marley, Christian. 
Melissy VV atkins, elderly maiden. 
Jonas ]arrock, farmer. 
Belindy Jarrock, seamstress. 
Hiram Curtis Peck, seller. 
April Blossom, help. 

SYNOPSIS 

Act I. — Sitting-room behind Ezra Bromley's store. Morning. 

Act II. — The same. Some days later. 

Act III. — At the Jarrocks'. Some weeks later. 

Act IV. — At the Bromley s'. Later in the evening. 

FOOLING FATHER 

A Comedy in One Act 
By R. M. Robinson 
Three males. Costumes, modern ; scene, an interior. Plays thirty 
minutes. A clever little play easily done and very effective. The boys 
arrange a little burglary just to show the old gentleman what heroes they 
are, but somehow things do not turn out right for the hero part. Can be 
recommended. Price, /J cents 

AT THE JUNCTION 

A Farce in One Act 

By Charles S. Bird. 
Three males, two females. Costumes, modern ; scene, an easy interior. 
Plays thirty minutes. A bright and vivacious little farce for two young 
couples and a comic station agent, very easy and effective. All the parts 
are first rate, and that of the station agent is a corker. Can be strou^h 
recommended. Price t 15 cents 



New Plays 



THE REBELLION OF MRS. BARCLAY 

A Comedy of Domestic Life 

In Two Acts 

By May E. Countryman 

Three male, six female characters. Costumes modern ; scenery, easy 
interiors. Plays one hour and three quarters. A clever and amusing 
comedy with a very popular cast; all the parts evenly good. There are 
many Mr. Barclays making their homes more or less uncomfortable all 
over this country, and Mrs, Barclay's method of curing her particular one 
will be sympathetically received. Good Irish comedy parts, male and fe- 
male. Strongly recommended. 

Price, 25 cents 

CHARACTERS 

Morton Barclay. Mrs. Brown, Morton s sister. 

Roger Stuart, a neighbor. Cora, her daughter. 

Dennis O' Hara. Elsie Stuart, Roger s sister. 

Ethel Barclay, Morton s wife. Mary Ann O'Connor. 
Ruth Carter, Ethel ' s sister. 

PA'S NEW HOUSEKEEPER 

A Farce in One Act 

By Charles S. Bird 
Three male, two female characters. Modern costumes ; scenery, a 
simple interior or none at all. Plays forty minutes. A roaring farce of 
the "Charley's Aunt" order, admirably suited for high-school perform- 
ance. Jack Brown, visiting his chum, is tempted by his success in college 
theatricals to make up in the character of the new housekeeper, an at- 
tractive widow, who is expected but does not arrive. He takes in every- 
body and mixes things up generally. All the parts are first rate and the 
piece full of laughs and action. Strongly recommended. 
Price, 1 j cents 

A PRODIGAL SON 

A Comedy in One Act 

By Rayjnond M. Robinso?i 

Two male, three female characters. Costumes modern ; scenery, an 
easy interior. Plays half an hour. A very original and amusing bit of 
fooling, easy to do and sure to please. The leading character is a tramp 
and full of opportunity. Well recommended. 
Price, 75 cents 



New Farces 



THE ELOPEMENT OF ELLEN 
A Farce Comedy in Three Acts 

By Marie J. Warren 

Four males, three females. Costumes modern ; scenery, one interior and} 

ane exterior. Plays an hour and a half. A bright and ingenious little 

play, admirably suited for amateur acting. Written for and originally 

produced by Wellesley College girls. Strongly recommended. 

Price, 2$ cents 

TOMMY'S WIFE 

A Farce in Three Acts 

By Marie J. Warren 

Three males, five females. Costumes modern ; scenery, two interiors. 
Plays an hour and a half. Originally produced by students of Wellesley 
College. A very original and entertaining play, distinguished by abun- 
dant humor. An unusually clever piece, strongly recommended. 
Price, 2$ cents 

ALL CHARLEY'S FAULT 

An Original Farce in Two Acts 
By Anthony E. Witts 
Six males, three females. Scenery, an easy interior ; costumes modern. 
Plays two hours. A very lively and laughable piece, full of action and 
admirably adapted for amateur performance. Dutch and Negro comedy 
characters. Plays very rapidly with lots of incident and not a dull mo- 
ment. Free for amateurs, but professional stage rights are reserved by 
the author. Strongly recommended. 

Price, *j cents 

OUT OF TOWN 

A Comedy in Three Acts 

By Bell Elliot Palmer 
1 hree males, five females. Scene, an interior, the same for all three 
acts ; costumes modern. Plays an hour and a half. A clever and inter- 
esting comedy, very easy to produce r.nd recommended for amateur per- 
formance. Tone high and atmosphere refined. All the parts good. A 
safe piece for a fastidious audience, as its theme and treatment are alike 
bey«»id reproach. 

Price? 2$ tentf 



New Plays 



THE GOVERNMENT DETECTIVE 

A Play in Four Acts 
By Bernard Francis Moore 
Author of "Belle the Typewriter Girt," "Brother Against 
Brother" "The Moonshiner s Daughter," etc. 

Eight males, four females. Costumes, modern ; scenery, four interior." 

Plays two hours. A highly spiced melodrama suitable for performance 

by young folks or by their elders who like plenty of excitement. Easy 

and thrilling, like all the plays by this author. 

Price, 2$ cents 

CHARACTERS 
Captain Wilbur Foster, a government detective: under the as' 

sumed name of Paul Gray, a retired banker. 
John Arnold, the captain of a secret band of criminals. 
Martin Jackson, a wealthy young man. 
Alexander Adams, warden of the Jefferson Prison. 
Nick Morton, Foster s assistant. 
James Armstrong, a retired capitalist. 
Edwin Ray, his nephew. 
Peter, a clerk at the prison. 

Mrs. Laura Marston, a young widow and John s sister. 
Clara Armstrong, James 1 daughter and heiress. 
Effie Jackson, Martin s sister. 
Mary, a servant. 

A PECK OF TROUBLE 

A Comedy in One Act 

By Alice C. Thompson 

Five females. Costumes, modern ; scene, an interior. Plays twenty 
minutes. A capital little play for young girls in or out of school ; clean, 
bright and easy to get up. 

Price, IS cents 

MUCH TOO SUDDEN 

A Comedy in One Act 

By Alice C. Thompson 

Seven females. Costumes, modern ; scene, an interior. Plays thirty 
minutes. Mrs. Alston is a fond mother who cannot see that her daughters 
have grown up until they and all the rest of the world are aware of it. 
Her awakening is very funny. Clean and bright. Recommended for 
schools. 

Price, IS cents 



New Plays 



COUNTRY FOLKS 

A Comedy-Drama in Three Acts 

By Anthony E. Wills 

Author of "Our Wives" "A Regiment of Two" 

" Liberty Corners," etc. 

Six males, five females. Costumes, modern ; scenery, one interior. 

Plays two and a quarter hours. An effective and up-to-date play of 

American country life well suited for amateur performance. All the parts 

good and fairly even in point of opportunity ; the ladies' parts especially 

io. Easy "Q stage, and well suited for school performance. Well recom- 

irnsriaed. Price, 25 cents 

CHARACTERS 
Josiah Dean, an old farmer. 
Martha Dean, his wife. 
Nathaniel Dean, ) ,, . , ... 
Polly Dean, j ^etr children. 

Lorna Lane, a seamstress. 
Ozias Schuyler, the postmaster. 
Prudence Schuyler, his daughter, 
Peter Patch, the chore boy. 
Horatio Finch, a country lawyer, 
Alvina Berry, a neighbor. 
Jake Diemer, the village barber. 

SYNOPSIS 
Act I. — Home of Josiah Dean. Summer. 
Act II. — The same. One year later. 
Act III. — The same. A month later. 

THE ROSE AND THE RING 

Adapted from Thackeray* s Christmas Pantomime 

By J. B. Greenough 

Sixteen males, five females. Costumes, fantastic ; scenery, one interior, 

two exteriors, all unimportant. Plays an hour and three-quarters. A 

wonderfully ingenious and effective stage version of this charming classic ( 

ideally suited for school performance. Strongly recommended. 

Price, 25 cents 

COHEN'S DIVORCE 

A Sketch in One Act 

By G. M. Rosener 

For two male characters, Hebrew and straight. Costumes, eccentric ; 

any scenery will answer. Plays twenty minutes. Good character talk 

and very funny business ; can be made very effective. 

Price t ij cents 



Novelties 



SCENES IN A RESTAURANT 

An Entertainment in One Act 

By Jessie A. Kelley 

Author of 'Our Church Fair," " The Village Post-Office;" 

"Miss Prims Kindergarten" etc. 

Fifteen males, ten females. Costumes modern ; scenery unimportant 

Plays one hour. A humorous presentation of what happens every day in 

■he average restaurant, hitting everybody right where they live. Sure to 

be popular. All parts good ; lots of incident and chances for local hits. 

Can be recommended. 

Price, 2j cents 

CHARACTERS 



Mrs. Smiley, an indulgent mother. 
Maud, her daughter; a spoiled child. 

Beggar. 

JfcBSSK, I"— 

Mr. Hall, a health crank. 
James, his servant. 
Mr. Monroe, a chronic kicker. 
Hiram Greenback, from way back, 
Mary Ann, his wife. 

£ MSey \« g bt from Ireland. 



Mr. Jones, bead waiter. 

{™» | «.*«»«. 

Mr. Rice, a mean man. 

Mr. Foss, who has a plan, 

Mrs. Brett. 

Mrs. Dacey. 

Mrs. Slack, deaf, middle-aged, and stout. 

Miss Drew. 

Mr. Rich 1 ■ ... 

Mr. Jackson \ actorS - 

Reuben Grass, from the country. 

Mandy Clover, his best girl. 

FUN IN A THEATRICAL OFFICE 

A Vaudeville Entertainment 

By Maravene Kennedy Thompson 

Seven males, sixteen females. Costumes modern ; scenery unimportant 

Plays a full evening. A complete vaudeville entertainment in itself or can 

be used as the frame for other specialties; a " go-as you-pl ease " show, 

very elastic and adaptable to all places and circumstances. A big hit in 

its original performance. Strongly recommended. 

Price, 25 cents 

CHARACTERS 



Luke Loud, a theatrical agent. 
Bat, his office boy. 

Clara Vere De Vere, his stenographer. 
Orchestra Carr, bis pianist. 

VAUDEVILLE ARTISTS 



Gentlemen 

Pietro De Bianaco. 
George Washington Lincoln, 
fan Getupangitski. 
Reuben Haskins. 



Ladies 

Mrs. Susan Suffreno Riser. 

Mrs. Trailing Arbutus Flower and *#» 

thirteen children. 
Miss Anise Elderbloom. 
Frisky Dewdrop. 
Fluffy Flutter. 
Madame Sylva. 
Mrs. Bridget Casey. 
Mrs. Rulethe Roost. 
Two ladies for sketch introduced. 
Mme. Carmencita. 
" Peach " Ott. 
Ruby Ott. 
Goldie ) 

Birdie V the Coquette Sisters, 
^.ueenie \ 



New Plays 



THE COMEDY OF ERRORS 

A Comedy in Five Acts 

By Willia?n Shakespeare 
Arranged for School Performance 

Thirteen male, three female characters. Costumes appropriate ; scenery 
of no importance. Plays two hours. An arrangement of this well-known 
play for schools, simplified so far as possible in its division into scenes, 
and cut and rearranged for the use of male actors only, so far as this is 
possible. The rollicking fun of this play has been too long disregarded, 
and its great suitability for school performance by boys will be at once 
seen. Some care will be called for in the matter of costuming it, but this 
labor will be well repaid. 

Price, i $ cents 

FARO NELL 

A Vaudeville Sketch in One Act 

By Willis Steell 

Six male, one female characters. Costumes, Mexican and frontier ; 
scenery, a picturesque interior. Plays twenty minutes. A very effective 
dramatic sketch with a star part for a woman. Has been used profession- 
ally in vaudeville. Good character and strong situations ; can be strongly 
recommended either for professional use in vaudeville or for private per- 
formance. Professional acting rights reserved. 
Price, ij cents 

MOR'D ALICE 

A Vaudeville Sketch in One Act 

By Marioii Roger Fawcett 

One male, two female characters. Costumes modern ; scene, an easy 
interior. Plays fifteen minutes. A very slight but pretty and effective 
mingling of pathos and humor for an eccentric soubrette. Can be recom 
mended. 

Price, ij cents 

THE ALARM 

A Vaudeville Sketch in One Act 

By Marion Roger Fawcett 

Two male characters who double two other parts. Costumes modern ; 

scene, an easy interior. A very dramatic sketch for a man, with a situation 

tf much power and pathos. Recommended. 

Price, i j cents 



New Plays 



THE COLONEL'S MAID 

A Comedy in Three Acts 

By C. Leona Dalrymple 

Author of "The Time of His Life," "The Land of Night;' etc. 

Six males, three females. Costumes, modern ; scenery, two interiors. 
Plays a full evening. An exceptionally bright and amusing comedy, full 
of action ; all the parts good. Capital Chinese low comedy part; two 
first-class old men. This is a very exceptional piece and can be strongly 
recommended. Price, 25 cents 

CHARACTERS 

Colonel Robert Rudd, a widower of ) 

North Carolina \ . „ . ... 

Colonel Richard Byrd, a widower) mortally antagonistic. 

of South Carolina j 

Bob Rudd \ no * so ania S onzsizc as ^ iezr respective fathers. 

Mrs. J. John Carroll, a widow, and Colonel Rudd's sister- 

in-law. 
Julia Carroll, her daughter. 

Ned Graydon, a young gentle?na?i of exceedingly faulty memory. 
Mr, James Baskom, Colonel Rudd' s lawyer. 
Ching-ah-ling, the Chinese cook, a bit impertment but by far th& 
most important individual in the cast. 
SYNOPSIS 
Act I.— Early morning in the kitchen of the Rudd bacheloi 
establishment. 

Act II. — The Rudd library, five days later. 
Act III. — The same. Evening of the same day. 

BREAKING THE ENGAGEMENT 

A Farce in One Act 

By W. C. Parker 

Two males, one female. Costumes, modern ; scene, an interior. Plays 

twenty minutes A quick playing little piece suitable for vaudeville use. 

Very bright and snappy and strongly recommended. 

Price ; 15 cents 

A PAPER MATCH 

A Farce in One Act 
By E. W. Burt, M. D. 

Two males, two females. Costumes, modern ; scene, an interior. Plays 
thirty f^ve minutes. Four rustic characters, all good. The heroine ad- 
vertises for a husband and gets her aunt's old beau to their mutual horror 
Very funny, easy and effective, Price t ij cents 



New Publications 



THE PROSPECTOR 

A Comedy in Three Acts 

By Willis Steell 

Six male, two female characters. Costumes modern; scenery, two in 
tenors. Plays two hours. A compact little comedy of American business 
life of the popular type. Its small cast naturally gives good opportunity 
to all its few characters, its story is sympathetic, its action brisk, its dia- 
logue good, and its character-drawing effective. Strongly recommended 
to such as are in want of a short cast and easy production. Professional 
stage-rights reserved. Royalty for amateur performance ten dollars 
($ 10.00) for each performance. 

Price, jo cents 

CHARACTERS 

Tom Preston, the prospector. 

Walter Shede [pronounced Sha-dy). 

Robert Emmett McGowan. 

Charlton, of the Charlton Construction Co. 

Dr. Manning. 

Mr. Jenks, an agent. 

Felicia Kelso. 

Kate Carew. 

THE GRAND DICKENS COSMORAMA 

Comprising several unique entertainments capable ot 

being used separately or in combination, 

for school, home or hall 

By George B. Bartlett 

Strongly recommended as a Dickens entertainment for its variety of 
material and comprehensiveness. Its- elasticity in the matter of scale fits 
it for the use of either large or small occasions. 
Price, 25 cents 

COBWEBS 

A Juvenile Operetta in Three Acts 

By Elizabeth P. Goodrich 
Two male, four female characters. Scenery, all interiors, but of small 
importance ; costumes to suggest insects, but easily arranged. Plays an 
hour and a half. A very pretty little operetta for children, easily gotten 
up. The music is original and is published complete with the text in one 
volume. Can be recommended. 

Price, 25 cents 



JL 01* Pinero's Plays 

Price, 50 £e:ite each 



Wlin fH ANNFI Pla y in Four Acts - Six males, five females. 
itjuis V£irLiiiiLiLi Costumes, modern; scenery, three interiors. 
Plays two and a half hours. 

THE NOTORIOUS MRS. EBBSMITH 23T Sfflfj 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

THF PROFIIHATF Kay in Four Acts. Seven males, five 
1 111* 1 IXXJl Lil\J/l 1 L# females. Scenery, three interiors, rather 
elaborate ; costumes, modern. Plays a full evening. 

THE SCHOOLMISTRESS SSr&ttS 

em; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY §& ,n 1 2K, A & 

females. Costumes, modern; scenery, three interiors. Plays a 
full evening. 

QWFFT I AVFNTO7R Comedy in Three Acts. Seven males, 
OWE.E.1 LLrlVCJIlSCR four females. Scene, a single interior, 
costumes, modern. Plays a full evening. 

THF Tf-ITTNTOTORAI T Comedy in Four Acts. Ten males, 
HIE. inullLIE.lVDUL.1 nine females. Scenery, three interi- 
ors; costumes, modern. Plays a full evening. 

THF TIMF^J Comedy in Four Acts. Six males, seven females. 
* ***-• * IlvItiiJ Scene, a single interior ; costumes, modern. Plays 
a full evening. 

THF WFAffFR QFY Comedy in Three Acts. Eight males, 
inc If r,MI\E,i\ 0£.A e ight females. Costumes, modern; 
scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE SSE££,£X£2: 

Costumes, modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 

Salter & ^afeer & Companp 

No. 5 Hamilton Place, Boston, Massachusetts 



IIiBiiiShii of congress 

016 102 186 6 it 



%ty William barren CUttton 
of $lapg 

^rice, 15 €ent£ <£acfj 



A^ Yflfl I I1TF IT Comedy m FiT © Acts. Thirteen males, four 
A*J 1VU MliLr 11 females. Costumes, picturesque ; scenery, va- 
ried. Plays a full evening. 

f AMU I F r>rama in Five Acts. Nine males, five females. Cos- 
VAillLLfLrL/ tunies, modern ; scenery, varied. Flays a full evening. 

INfiOMAD pla y ,n Five Acts. Thirteen males, three females. 
lilU ViTlAiV Scenery varied ; costumes, Greek. Plays a full evening. 

MAW ^TIIABT Tragedy in Five Acts. Thirteen males, four fe- 
U1AR\1 JIUAH1 males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

THE MERCHANT OF VENICE SffiftlSSKES: 8SSSI 

picturesque ; scenery varied. Plays a full evening. 

BIf HFT TFffT Pla y In Fiye Acts. Fifteen males, two females. Bcen- 
I\IWllLrlyiL,U ery elaborate ; costumes of the period. Plays a full 
evening. 

THP PIVAI ^ Comedy in Five Acts. Nine males, five females. 
llUi H1TA1«9 Scenery varied; costumes of the period. Plays a 
toll evening. 

SHE STOOPS TO CONQUER SSSUSSSL^i^SS^ 

ried ; costumes of the period. Plays a full evening. 

TWELFTH NHfflT; OR, WHAT YOU WILL SrW-JE 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

Salter $, OBafier & Company 

No. 5 Hamilton Place, Boston, Massachusetts 

6 J. PARKHILL A CO., PRINTSR8, BOSTON, U.S.A. 



